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Speaking of MusicAddressing the Sonorous$
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Keith Chapin and Andrew H. Clark

Print publication date: 2013

Print ISBN-13: 9780823251384

Published to Fordham Scholarship Online: January 2014

DOI: 10.5422/fordham/9780823251384.001.0001

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Parole, parole: Tautegory and the Musicology of the (Pop) Song

Parole, parole: Tautegory and the Musicology of the (Pop) Song

Chapter:
(p.186) Parole, parole: Tautegory and the Musicology of the (Pop) Song
Source:
Speaking of Music
Author(s):

Peter Szendy

Publisher:
Fordham University Press
DOI:10.5422/fordham/9780823251384.003.0012

The (pop) song often presents itself as a tautegory: it utters itself by “seeking for itself”, as Nietzsche put it in The Birth of Tragedy, a “parallel appearance” in words. This self-utterance of the song, exemplified by (among others) Marguerite Duras’ India Song, could also be described as its musicology, the song being both the object and the subject of its own discourse. Thus, adding to the two famous statements attributed respectively to Salieri and Monteverdi (prima la musica e poi le parole and che l’oratione sia padrona del armonia), the (pop) song requires us to think a third one: Parole, parole, parole, title of a famous Italian hit by Mina.

Keywords:   Popular song, Tautegory, Musicology, Marguerite Duras, Mina

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